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1、托福阅读真题汇总为了让大家更好的准备托福考试，小编给大家整理一些托福阅读真题，下面小编就和大家分享，来观赏一下吧。托福阅读真题1PASSAGE 4The term Hudson River school was applied to the foremost representativesofnineteenth-century North American landscape painting. Apparently unknownduring the goldendays of the American landscape movement, which began around1850
2、and lasted until the late1860s, the Hudson River school seems to haveemerged in the 1870s as a direct result of thestruggle between the old and thenew generations of artists, each to assert its own style as therepresentativeAmerican art. The older painters, most of whom were born before 1835,practic
3、edin a mode often self-taught and monopolized by landscape subject matterand were securelyestablished in and fostered by the reigning American artorganization, the National Academy ofDesign. The younger painters returning homefrom training in Europe worked more with figuralsubject matter and in a bo
4、ld andimpressionistic technique; their prospects for patronage in theirown countrywere uncertain, and they sought to attract it by attaining academic recognitioninNew York. One of the results of the conflict between the two factions was thatwhat in previousyears had been referred to as the American,
5、 native, or,occasionally, New York school the mostrepresentative school of American art inany genre had by 1890 become firmly established inthe minds of critics andpublic alike as the Hudson River school.The sobriquet was first applied around 1879. While it was not intended asflattering, it washardl
6、y inappropriate. The Academicians at whom it was aimedhad worked and socialized in NewYork, the Hudsons port city, and had paintedthe river and its shores with varying frequency.Most important, perhaps, wasthat they had all maintained with a certain fidelity a manner oftechnique andcomposition consi
7、stent with those of Americas first popular landscapeartist,Thomas Cole, who built a career painting the Catskill Mountain scenerybordering the HudsonRiver. A possible implication in the term applied to thegroup of landscapists was that many ofthem had, like Cole, lived on or near thebanks of the Hud
8、son. Further, the river had long servedas the principal route toother sketching grounds favored by the Academicians, particularly theAdirondacksand the mountains of Vermont and New Hampshire.1. What does the passage mainly discuss(A) The National Academy of Design(B) Paintings that featured the Huds
9、on River(C) North American landscape paintings(D) The training of American artists in European academies(A) Figural painting(B) Landscape painting(C) Impressionistic painting(D) Historical painting3. The word struggle in line 5 is closest in meaning to(A) connection(B) distance(C) communication(D) c
10、ompetition4. The word monopolized in line 7 is closest in meaning to(A) alarmed(B) dominated(C) repelled(D) pursued5. According to the passage , what was the function of the National Academyof Design for thepainters born before 1835(A) It mediated conflicts between artists.(B) It supervised the inco
11、rporation of new artistic techniques.(C) It determined which subjects were appropriate.(D) It supported their growth and development.6. The word it in line 12 refers to(A) matter(B) technique(C) patronage(D) country7. The word factions in line 13 is closest in meaning to(A) sides(B) people(C) cities
12、(D) images8. The word flattering in line 18 is closest in meaning to(A) expressive(B) serious(C) complimentary(D) flashy9. Where did the younger generation of painters receive its artistictraining(A) In Europe(B) In the Adirondacks(C) In Vermont(D) In New HampshirePASSAGE 4 BBDBD CACA托福阅读真题2PASSAGE
13、5Perhaps the most obvious way artistic creation reflects how people live isby mirroring theenvironment the materials and technologies available to aculture. Stone, wood, tree bark, clay,and sand are generally availablematerials. In addition, depending on the locality, other resourcesmay beaccessible
14、: shells, horns, gold, copper, and silver. The different uses to whichsocieties putthese materials are of interest to anthropologists who may ask, forexample, why people chooseto use clay and not copper when both items areavailable. Although there are no conclusiveanswers yet, the way in which asoci
15、ety views its environment is sometimes apparent in its choiceand use ofartistic materials. The use of certain metals, for example, may be reservedforceremonial objects of special importance. Or the belief in the supernaturalpowers of a stone ortree may cause a sculptor to be sensitive to thatmaterial.What is particularly meaningful to anthropologist is the realization thatalthough thematerials available to a society may to some extent limit orinfluence what it can do artistically,the materials by no means determine whatis done. Why do the artists in Japanese society rakesand into
